It has started. Finally after a long wait for the skulls to arrive. Searching for space to work. Trying to get all the numbers to work. It was a typical “ahorita” – hurry up and wait for syndrome here in Mexico. But, yesterday I went and visited the worksite where they store the craneos.
It was great to see the actual skull in person. To touch it. To understand the scale. It gives me pause. I have to think about how I am going to work in these conditions, with this material, in a new way that pushes everything forward. No pressure. JAJA. But the idea here is to continue with Transmutación series and see how the 3D aspect and addition of a tech piece will evolve things.
In the video above I needed to use my hand to have a reference for the scale and the way the shape is formed. How will the paper work on those shapes? Will I cover the entire surface or use the provided surface to create a pattern by breaking the paper? I am thinking about the eye sockets and how I can use that shape and create a sense of connection to the viewer.
With that visit, it was just the spark I needed to dig in. Weeks of waiting and sketching with no connection to the form. No connection to scale. It was a very difficult time for me. I wanted to jump into another project, but I never knew when the craneo would arrive. I hate leaving a project undone, so starting something was difficult. I spent a lot of time tooling around, visiting museums, resting, making improvements on my space, and falling in love.
And so now it starts. I am considering the scale of the pieces I want to create and attach. It feels like I am going to go smaller than what is shown in the video. But working the paper down is a part of the process. So I am editing this piece of paper and photographing the entire process to sale the prints. I am considering using specific spaces on the skull to create visual impact and connection with the audience. In the same way, I try to balance abstraction and the narrative of a figure introduced. So far I am thinking of pulling in an already painted dancer image as the central pull on the forehead, but then I also think I am just needing something solid to start from. After all, I don’t go from a white canvas. I do interventions. Working up from the white surface of the skull is different on top of differences.
In the end, it really is about trusting the process I already know even on a new surface I have never used before. Allowing it to unfold naturally and adjusting to the circumstance is always apart of making great art for me. The more control I exert the less likely I am to be pleased with the outcomes. My mind is a trap.